Languages

ABOUT THE ART

NEW CATALOGUE: Bühnenstücke.Text in catalogue by curator Jutta Mattern in the catalog "Bühnenreif". Exhibition Catalog adjacent to the two exhibitions "Bühnenreif" Act 1 & Act 2, Arp Museum Bahnhof Rolandseck 23 September 2016-23 April 2017.! 00 years anniversary of the birth of Dadaism. Find more ...

Torsten Jurell's previous exhibition at The Museum of Movement can be seen again in a virtual show! The amazing Nicolas Hachoud has done a super job - leap into the "tomorrow" and meet "And so it was Night ..!" See more!

Clouds scurry across the sky.Then shadows darken the Earth.This is the night when things will happen.

This project began while I was engaged in constructing my mechanical theatre in the metal workshop at Sweden’s Royal Institute of Art: it was the decision to use written words to trigger my imagination that really set things in motion.

The exhibition itself is, of course, the result of a much lengthier process. Many years spent in China have given me new perspectives and in the “porcelain capital” of Jingdezhen I have achieved a level of artistic freedom that is best described simply in terms of what I am now able to present before you.

During my most recent sojourn in Jingdezhen in the spring and summer of 2015 my focus was firmly on black glaze. Not, however, because black is the most obvious expression of “night”; it was more a matter of satisfying my curiosity by working with a medium that others have been using for more than a thousand years. The passion I felt for working with black in this way opened up new avenues for me; I saw more, I saw a little further and in a little more depth.

I discovered tradition through the new expressions that are being created today. I learned terms such as “tian mu”, “temoku” and “jian yao”. And in the black glaze I also saw the reflection of the greater world around me – all the things about which I need to form an opinion, all the things I need to take a stand for or against as part of the long process of learning what it means to be human.

Clouds scurry across the sky.Then shadows darken the Earth.This is the night when things will happen.

This project began while I was engaged in constructing my mechanical theatre in the metal workshop at Sweden’s Royal Institute of Art: it was the decision to use written words to trigger my imagination that really set things in motion.

The exhibition itself is, of course, the result of a much lengthier process. Many years spent in China have given me new perspectives and in the “porcelain capital” of Jingdezhen I have achieved a level of artistic freedom that is best described simply in terms of what I am now able to present before you.

During my most recent sojourn in Jingdezhen in the spring and summer of 2015 my focus was firmly on black glaze. Not, however, because black is the most obvious expression of “night”; it was more a matter of satisfying my curiosity by working with a medium that others have been using for more than a thousand years. The passion I felt for working with black in this way opened up new avenues for me; I saw more, I saw a little further and in a little more depth.

I discovered tradition through the new expressions that are being created today. I learned terms such as “tian mu”, “temoku” and “jian yao”. And in the black glaze I also saw the reflection of the greater world around me – all the things about which I need to form an opinion, all the things I need to take a stand for or against as part of the long process of learning what it means to be human.

Clouds scurry across the sky.Then shadows darken the Earth.This is the night when things will happen.

This project began while I was engaged in constructing my mechanical theatre in the metal workshop at Sweden’s Royal Institute of Art: it was the decision to use written words to trigger my imagination that really set things in motion.

The exhibition itself is, of course, the result of a much lengthier process. Many years spent in China have given me new perspectives and in the “porcelain capital” of Jingdezhen I have achieved a level of artistic freedom that is best described simply in terms of what I am now able to present before you.

During my most recent sojourn in Jingdezhen in the spring and summer of 2015 my focus was firmly on black glaze. Not, however, because black is the most obvious expression of “night”; it was more a matter of satisfying my curiosity by working with a medium that others have been using for more than a thousand years. The passion I felt for working with black in this way opened up new avenues for me; I saw more, I saw a little further and in a little more depth.

I discovered tradition through the new expressions that are being created today. I learned terms such as “tian mu”, “temoku” and “jian yao”. And in the black glaze I also saw the reflection of the greater world around me – all the things about which I need to form an opinion, all the things I need to take a stand for or against as part of the long process of learning what it means to be human.